Abstract
This text questions two traditional theses concerning the landscape painting of the Escuela de la Sabana; first, that the school constituted the onset of pictorial modernity in Colombia, and second, that the school endeavored to represent natural landscape. Instead, it is argued that this school of painting operated through the naturalization of a landscape that had been structurally reconfigured since the second half of the 19th century. The text unfolds in three parts: in the first, the two theses mentioned are reviewed; in the second, the notions of landscape and landscape painting are analyzed from the perspectives of cultural geography, historical geography, and visual culture; and the third part analyzes the ‘non-aesthetic’ cultural meanings of this painting.
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